2025 Music Scene: Stagnation Breeds Artistic Depth and Strategic Careers - Episode Hero Image

2025 Music Scene: Stagnation Breeds Artistic Depth and Strategic Careers

The Daily · · Listen to Original Episode →
Original Title: Sunday Special: The Best Music of 2025

TL;DR

  • 2025's mainstream music scene was characterized by a "year of disappointment," lacking significant, artistically impactful blockbusters, which created space for critics to explore more personal, under-the-radar discoveries.
  • Bad Bunny's "Un Verano Sin Ti" resonated by mining Puerto Rican musical history with a contemporary feel, demonstrating an intergenerational dialogue that expanded his global fanbase.
  • Lady Gaga's "Ma'am" represents a reinvention by re-engaging with her signature dark electronic pop sound, effectively balancing fan service with artistic maturity and expertise.
  • Justin Bieber's "Swag" albums showcased a fruitful tension between his established pop persona and experimental indie collaborators, resulting in a looser, more intriguing sound.
  • Chappell Roan and Doja Cat approached their careers post-breakout with deliberate pacing and artistic consideration, withholding new material to build anticipation rather than flooding the market.
  • Taylor Swift's "The Life of a Showgirl" achieved record-breaking commercial success but faced increased criticism, signaling a cultural exhaustion with her celebrity and a shift in public reception.
  • The rise of the producer-as-artist, exemplified by Dijon, highlights a trend of avant-garde sounds grounded in personal experience, though translating this studio energy to live performance remains a challenge.

Deep Dive

2025 proved to be a year of musical stagnation in the mainstream, marked by a lack of definitive consensus albums and a reliance on established artists whose releases, while commercially successful, often lacked artistic innovation. This void, however, created an opportunity for critics to explore deeper, more personal selections and for artists to experiment with their sound, leading to unexpected breakthroughs and a more nuanced appreciation of music's historical lineages.

The year saw established artists like Bad Bunny and Lady Gaga engaging with musical history in compelling ways. Bad Bunny’s "Debí Tirar Más Fotos" mined Puerto Rican musical traditions, blending old sounds with contemporary production and youthful musicianship, expanding his global appeal. Lady Gaga’s "Mayhem," though initially divisive, revealed itself as a reinvention, reconnecting with her core identity as a creator of dark, electronic dance-pop, particularly through tracks like "Abra Kadabra" that masterfully employed her signature "made-up nonsense." Justin Bieber also surprised listeners with his "Swag" albums, particularly "Daisies," where he collaborated with more experimental producers like Dijon, resulting in a fruitful tension between his recognizable sound and rougher, more avant-garde textures.

Emerging artists navigated the post-breakout landscape with varied strategies. Chappell Roan offered carefully selected, high-quality tracks like "The Giver" and "The Subway," demonstrating a deliberate approach to career development. In contrast, Sabrina Carpenter’s follow-up to her breakout year, "Manchild," leaned into a successful formula but showed signs of becoming repetitive. Doja Cat, following a significant Grammy performance, also opted for a measured release with her mixtape "Alligator Bites Never Heal," signaling confidence in taking her time. This year highlighted a trend where artists who withheld immediate output, like Roan and Doja Cat, generated more anticipation for future work, contrasting with the streaming era's inclination for constant output.

Taylor Swift's "The Life of a Showgirl" presented a confounding paradox: a record-breaking commercial success that simultaneously invited more criticism than her previous work. This shift was partly attributed to heightened expectations set by prior collaborations and media narratives, coupled with lyrical content and a perceived pivot towards sexuality that felt uncharacteristic for her established persona. The album’s reception was further complicated by its strong association with the "Eras Tour" film, which some critics viewed as a cynical, overly commercial endeavor that overshadowed the music itself, leading to a cultural exhaustion around Swift the celebrity.

Beyond the mainstream, a vibrant underground and genre-specific scene flourished. The producer-as-artist trend was exemplified by Dijon, whose album "Baby" fused avant-garde sounds with themes of new fatherhood, though his live performance struggled to translate his studio energy. New York City's rock scene produced divisive yet exhilarating acts; Geese’s "Getting Killed" with its polarizing frontman Cameron Winter, and Water From Your Eyes' 90s-inspired alternative rock, showcased adventurous sounds that resonated deeply with younger audiences, even if divisive among established critics. British women also made waves in pop, with PinkPantheress’s "Fancy That" offering a lighter, effervescent take on her signature sound, and Lily Allen’s autobiographical album detailing marital dissolution.

The year's takeaways emphasize the evolving nature of artistic careers and audience reception. Established artists are increasingly engaging with their legacies and musical histories, while newer artists are strategically navigating the pressures of fame. The critical discourse around major releases like Taylor Swift's "The Life of a Showgirl" revealed a complex interplay between commercial success, artistic expectation, and public perception, demonstrating that even immense popularity does not insulate an artist from scrutiny. Ultimately, 2025 showcased a music landscape where artistic depth and deliberate career moves, even if less commercially immediate, provided a more compelling and sustainable path forward.

Action Items

  • Audit 3-5 recent album releases for evidence of producer-as-artist trends, noting sonic fragmentation and experimental pop fusions.
  • Analyze 2-3 emerging rock bands' live performance energy, assessing crowd engagement during both ballads and high-tempo tracks.
  • Track 5-10 instances of artists strategically withholding new material post-breakout year, evaluating their career development approach.
  • Measure the correlation between an artist's perceived "fan service" and critical reception for 2-3 albums featuring nostalgic sonic elements.
  • Evaluate 3-5 artists' lyrical content for recurring themes of sexuality and personal relationships, comparing their impact on critical reception versus commercial success.

Related Episodes

Key Quotes

"for music 2025 was blank fill in the blank it was a bummer year for me gilbert honestly it really was i'm sorry we're starting off on a sour note we're going to things are going downhill the rocket ship takes off after i finish this initial answer i was making my own uh best of list and i was like i have had the hardest time this year i think the hardest time ever in i'm going to say 25 years of professional list making"

Caryn Ganz describes 2025 as a "bummer year" for music, indicating a personal difficulty in identifying standout artists or albums. Ganz explains that this year presented a challenge in creating a "best of" list, a task she has undertaken for 25 years, suggesting a lack of clear, impactful releases compared to previous years.

"i'll take the flip side of that i'll try to spin it more optimistically thank you just so just so we're not stuck in the mud here everyone's gonna get mad at me no but i don't think you're wrong i think in in the in terms of the mainstream it was a very stagnant year um and i think some of the biggest blockbusters of the year you know were huge in a commercial sense but i found lacking artistically yes but the flip side of that is that i you know had some time and space in my year end list to pay attention to things that were going on like under the radar which i always am as a critic but i think because there was such a void of the big marquee names this year it really presented an opportunity to dig a little deeper find some new things that were unexpected and come up with a list that felt a little more personal"

Lindsay Zoladz offers a more optimistic perspective, acknowledging the mainstream's stagnation but highlighting the opportunity it created. Zoladz explains that the lack of dominant, marquee artists allowed critics to explore under-the-radar music, resulting in a more personal and unexpected year-end list.

"i love it i consider it in the league of what beyoncé has been doing recently where it's an album that is very informed by musical history and certain musical lineages you know beyoncé in renaissance album and cowboy carter these two records that she's put out recently that feel you know very curated and like a conversation with the history of dance music the history of country music i hear bad bunny doing that with the history of puerto rican music on this record it's really mining the past in this way that feels very personal but also very contemporary it never feels like homework to listen to"

Lindsay Zoladz praises Bad Bunny's album, comparing its approach to Beyoncé's recent work, which engages with musical history. Zoladz explains that Bad Bunny mines the history of Puerto Rican music, creating a sound that feels both personal and contemporary, avoiding the feeling of an academic exercise for the listener.

"i first you know the biggest me culpa because when it came out i was like i don't like this it's not living up to the expectations i had i was a little bit negative um and then i went to see the tour with lindsay because she was reviewing ma'am and all of the strands of gaga's entire career suddenly connected for me and it made me love the album in a way that i really didn't expect to so it's still flawed in my mind it's like the bad songs to me are just really clunkers but overall i really do see it as a sort of reinvention and but plugging into the things that made her so invigorating in the first place you know like just really core interesting grindy dance music"

Caryn Ganz admits an initial negative reaction to Lady Gaga's album "Ma'am," feeling it did not meet expectations. Ganz explains that seeing Gaga's tour with Lindsay Zoladz helped connect the album's elements to Gaga's broader career, leading to a newfound appreciation for the album as a reinvention that taps into her invigorating dance music roots, despite some flawed tracks.

"i think what i really like about abra kadabra in particular it's she's playing around with this concept of fan service that we hear a lot about these days that that sort of meaning you're pandering to your fans you're giving them exactly what they want at a time when fans can be very vocal online that you're getting instant feedback as an artist i think fan service is a term used derisively but i find the best parts of ma'am to be the best kind of fan service which is that her fans have just wanted her to go back to making these dark electronic pop bangers for a long time now"

Lindsay Zoladz discusses Lady Gaga's song "Abra Kadabra" in the context of "fan service," a concept often viewed negatively. Zoladz argues that Gaga's approach to fan service on "Ma'am" is positive because it delivers the dark, electronic pop bangers that her fans have long desired, demonstrating an artist responding to audience wishes effectively.

"i think what you said even though you were surprised to hear his name pop up here you know like he had just been a tabloid fixture for the past two or three years people you know we're talking about his relationship with his former manager scooter braun his wife he had a child i think he had been so caught up as a cog in the pop machine for so long that what i liked best about this record is that he just sounds extremely loose and like himself i don't i'm not the biggest uh belieber is that what they call them i'm not the biggest bieber fan the swag wouldn't be on my list but it is really refreshing to hear him in this new context with these new uh you know producers and voices and it seems like you know the world is open to him now he just needs to sort of step back in"

Caryn Ganz expresses surprise at Justin Bieber's inclusion on year-end lists, noting his recent tabloid presence. Ganz explains that the appeal of Bieber's latest record lies in his loose, authentic sound, which feels refreshing after being perceived as a "cog in the pop machine," suggesting a positive shift in his musical presentation with new collaborators.

Resources

External Resources

Books

  • "Renaissance" by Beyoncé - Mentioned as an album that is very informed by musical history and certain musical lineages.
  • "Cowboy Carter" by Beyoncé - Mentioned as an album that is very informed by musical history and certain musical lineages.

Articles & Papers

  • "Debí Tirar Más Fotos" (Bad Bunny) - Mentioned as a song that referenced Juan Soto.
  • "Mayhem" (Lady Gaga) - Mentioned as a song from her latest album.
  • "Daisies" (Justin Bieber) - Mentioned as a big hit and one of the favorite singles of the year.
  • "The Life of a Showgirl" (Taylor Swift) - Mentioned as a record-breaking album that dominated the charts.
  • "I'm the Problem" (Morgan Wallen) - Mentioned as a song that dominated the charts.
  • "Alligator Bites Never Heal" (Doja Cat) - Mentioned as a mixtape.
  • "Manchild" (Sabrina Carpenter) - Mentioned as one of the favorite hits of the year.
  • "Baby" (Dijon) - Mentioned as a solo album that is a unique fusion of sounds and grounded in new fatherhood.
  • "Getting Killed" (Geese) - Mentioned as an album described as exhilaratingly inventive and strange.
  • "Heavy Metal" (Cameron Winter) - Mentioned as a solo album that is stranger and more forlorn than the Geese record.
  • "It's a Beautiful Place" (Water From Your Eyes) - Mentioned as an alternative rock 90s record made by people who did not live through the 90s.
  • "Fancy That" (PinkPantheress) - Mentioned as a quick, lighter, more effervescent, and flirty album that tells the story of a burgeoning romance.
  • "Tennis" (Lily Allen) - Mentioned as part of an album that is a narrative recounting of a salacious story.
  • "Choosin’ Texas" (Ella Langley) - Mentioned as a beautiful, sad girl heartbreak country song co-written with Miranda Lambert.
  • "Bunky Becky Birthday Boy" (Slayyyter) - Mentioned as an amazing record that serves as a reminder of their predecessors in the experimental hyperpop realm.
  • "Ego Death at a Bachelorette Party" (Hayley Williams) - Mentioned as a heartfelt, punky, singer-songwriter record with interesting lyrics.
  • "Never Enough" (Turnstile) - Mentioned as a hardcore band that is exceptionally poppy and gauzy.

People

  • Gilbert Cruz - Host of The Sunday Special, discussing music of 2025.
  • Caryn Ganz - Pop music editor at The Times, discussing music of 2025.
  • Lindsay Zoladz - Pop music critic at The Times, discussing music of 2025.
  • Bad Bunny - Artist whose album "Un Verano Sin Ti" was discussed as mining the past of Puerto Rican music.
  • Juan Soto - Mentioned in relation to a song by Bad Bunny.
  • Lady Gaga - Artist whose album "Ma'am" was discussed as a reinvention and plugging into core dance music elements.
  • Justin Bieber - Artist who released albums "Swag One" and "Swag Two," discussed for working with new collaborators and producers.
  • Dijon - Producer and musician who collaborated on the Justin Bieber album and released his own album "Baby."
  • McGee - Guitarist who collaborated on the Justin Bieber album.
  • Scooter Braun - Mentioned in relation to Justin Bieber's past as a tabloid fixture.
  • Chappell Roan - Artist who released two songs, "The Giver" and "The Subway," discussed for her next move after a breakout year.
  • Sabrina Carpenter - Artist who released a second album, discussed for her approach after a breakout year and her arena tour.
  • Doja Cat - Artist whose breakout Grammy performance was in 2025, discussed for leaning into her existing music and taking her time.
  • Taylor Swift - Artist whose album "The Life of a Showgirl" was discussed as a confounding release despite record-breaking numbers.
  • John Caramanica - New York Times critic who loved Taylor Swift's "The Life of a Showgirl."
  • Travis Kelce - Mentioned in relation to expectations for Taylor Swift's album.
  • The Killers - Band whose second album "Sam's Town" was used as an example of setting high expectations.
  • Brandon Flowers - Lead singer of The Killers, mentioned in relation to the album "Sam's Town."
  • Morgan Wallen - Artist whose album "I'm the Problem" dominated the charts.
  • Tyler, The Creator - Artist who had a week at number one on the charts.
  • Cardi B - Artist who had a week at number one on the charts.
  • Ghost - Swedish metal band that had a week at number one on the charts.
  • Prince - Artist to whom Dijon is indebted.
  • Cameron Winter - Frontman of the band Geese, whose vocal stylings were discussed.
  • Lou Reed - Mentioned as a source for the band Geese.
  • Suicide - Mentioned as a source for the band Geese.
  • Television - Mentioned as a source for the band Geese.
  • Nate Amos - Member of the duo Water From Your Eyes, known for guitar work.
  • Rachel Brown - Member of the duo Water From Your Eyes, known for vocals and lyrics.
  • PinkPantheress - Artist whose album "Fancy That" was discussed for its lighter, effervescent sound.
  • Lily Allen - Artist who collaborated with PinkPantheress on a song.
  • Miranda Lambert - Co-writer of Ella Langley's song "Choosin' Texas."
  • Slayyyter - Artist who released the album "Bunky Becky Birthday Boy."
  • Hayley Williams - Artist who released the album "Ego Death at a Bachelorette Party."
  • Turnstile - Hardcore band discussed for their poppy and gauzy sound.
  • Chris Martin - Mentioned in relation to a viral quote from Coldplay Gate.
  • Sabrina Carpenter - Mentioned in relation to a viral quote about being too beautiful.
  • Katy Perry - Mentioned in relation to a viral quote about taking up space and going to space.
  • Al Roker - Celebrity mentioned in relation to Role Model's song "Sally."
  • Natalie Portman - Celebrity mentioned in relation to Role Model's song "Sally."
  • Olivia Rodrigo - Celebrity mentioned in relation to Role Model's song "Sally."
  • Gracie Abrams - Celebrity mentioned in relation to Role Model's song "Sally."
  • Bruno Mars - Artist whose song "Apt" or "Apatá" was covered by Kids Bop.
  • Rosé - Artist whose song "Apt" or "Apatá" was covered by Kids Bop.
  • SZA - Artist whose song "BMF" was covered by Kids Bop.
  • Doja Cat - Artist whose song "Anxiety" was covered by Kids Bop.
  • Billie Eilish - Artist whose song "Wildflower" was covered by Kids Bop.
  • Miley Cyrus - Artist whose song "End of the World" was discussed in relation to Kids Bop.
  • Audrey Nuna - Artist whose song "Sumi" was part of a mashup.
  • Seventeen - K-pop group whose song "Golden" was part of a mashup.
  • Olivia Dean - Artist whose song "Man I Need" was part of a mashup.
  • Benson Boone - Artist whose song "Mystical Magical" was part of a mashup.
  • Raven Lai - Artist whose song "Love Me Not" was part of a mashup.
  • Tate McRae - Artist whose song "Sports Car" was part of a mashup.
  • Catseye - Artist whose song "Gnarly" was part of a mashup.
  • Kalani - Artist whose song "Folded" was part of a mashup.
  • Addison Rae - Artist whose song "Fame is a Gun" was part of a mashup.
  • DJ Oh - Artist whose song "Automatic" was part of a mashup.
  • Alex Warren - Artist whose song "Ordinary" was part of a mashup.
  • Dan Powell - Composer of original music for the podcast.
  • Diane Wong - Composer of original music for the podcast.

Organizations & Institutions

  • The Times - Publication where Caryn Ganz and Lindsay Zoladz work.
  • NFL (National Football League) - Mentioned in relation to sports discussion.
  • New England Patriots - Mentioned as an example team for performance analysis.
  • Pro Football Focus (PFF) - Data source for player grading.
  • Amazon - Company associated with Alexa Plus.
  • Schwab - Company offering investment services.
  • Invesco - Company offering the QQQ ETF.
  • American Petroleum Institute - Organization supporting the podcast.
  • Seventeen - K-pop group.
  • Geese - Brooklyn-based band.
  • Water From Your Eyes - Duo from Brooklyn.
  • Coldplay - Band associated with "Coldplay Gate."
  • Kids Bop - Series of albums where young singers cover popular songs.

Websites & Online Resources

  • amazon.com/newalexa - Website for information on Alexa Plus.
  • schwab.com - Website for investment information.
  • invesco.com - Website for Invesco fund prospectuses.
  • permittingreformnow.org - Website for information on the American Petroleum Institute's plan.

Other Resources

  • Alexa Plus - New product from Amazon discussed for its capabilities.
  • Un Verano Sin Ti - Album by Bad Bunny.
  • Ma'am - Album by Lady Gaga.
  • Swag One - Album by Justin Bieber.
  • Swag Two - Album by Justin Bieber.
  • The Giver - Song by Chappell Roan.
  • The Subway - Song by Chappell Roan.
  • Manchild - Song by Sabrina Carpenter.
  • The Life of a Showgirl - Album by Taylor Swift.
  • I'm the Problem - Album by Morgan Wallen.
  • Alien Bites Never Heal - Mixtape by Doja Cat.
  • Un Verano Sin Ti - Album by Bad Bunny.
  • Ma'am - Album by Lady Gaga.
  • Swag One - Album by Justin Bieber.
  • Swag Two - Album by Justin Bieber.
  • The Giver - Song by Chappell Roan.
  • The Subway - Song by Chappell

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